San Francisco artist Ross Hogg has been doing his do for many years and here he serves up more of his signature flips for his own self-initialled label. First up is 'Hollywood Squabble' which marries East Coast flow with a classic funk instrumental that results in a red-hot party starting bumper. On the reverse, a female MC does her thing on 'Coolie Dancin' In A Nissan Altima', which rides a bright, bold dancehall rhythm. Two very different but equally effective jams.
Black Josh continues to carve out his own lane with YSL Bootleg, a project that encapsulates his unique presence in underground rap while setting its sights far beyond any imposed labels. This is a release built on the foundations of collaboration and a genuine community of music makers—his years spent with Levelz, the legendary Manchester-based collective that blurred the lines between rap, grime, and rave culture, shaping a generation of artists, and Cult of The Damned, a crew of rappers who raised him, cultivating an audience that has seen him regularly pack venues and tour the UK, AUS and NZ.
The project captures Josh’s signature blend of sharp wit, undeniable Mancunian cadence, and layered references that land harder for those from the North West. It’s the next step for an independent artist who has never signed a record deal yet has amassed millions of streams across tracks like Paul Scholes, Own Ting (featuring Eliza and Jesse James Solomon), and the Skepta-produced, Cigaweed.
This is the first full-length project Josh has released since supporting Danny Brown on tour, an opportunity that saw him sharpen his already unruly stage presence under the mentorship of one of rap’s most unpredictable voices. Their pairing made perfect sense—two outspoken, off-kilter artists with a mutual disregard for convention. That energy is embedded in YSL Bootleg.
The project includes Council Pop featuring Sly Moon, a track that has been doing the rounds since its release last year. A lead single, Aw, Here it Goes, drops Friday February 28th ahead of the full release.
Garfield (track 8), incorporates a genuine jazz breakdown—an unexpected but fitting evolution from the days of sweaty, beer-stained basement shows that were a rite of passage for a young Black Josh. The production across the tape reflects Josh’s versatility, with tracks produced by Blah mastermind Lee Scott and longtime collaborator Sumgii.
With YSL Bootleg, Black Josh once again proves that his music is on his own terms—crafted with his peers, rooted in Manchester but designed to travel far beyond.
Bobby Lyle is a keyboard legend from the fusion period of jazz in the mid to late 1970s. He was the pianist with Young Holt Unlimited and played with Jimi Hendricks, booked to go on the road with him just ahead of the untimely death. In 1974 he moved to Los Angeles and went on the road with Sly & The Family Stone, and then through dates with Ronnie Laws he met ex-Crusader Wayne Henderson who took him to Capitol Records where this, the first of three iconic albums was released in 1977. Bobby also became Wayne’s keyboard player of choice on his solo albums and productions through the remainder of the 70s and early 80s, contributing to the ‘At Home Production’ sound which defines these albums. “The Genie” was rediscovered in the ‘rare groove’ period of the 80s and is from which Bobby gets his nickname for the lightning pace and magic of his playing. This album is ultimate jazz funk from a period that gave us artists like Lonnie Liston Smith, Joe Sample and Bob James. Bobby still tours to this day with artists like George Benson and Anita Baker.
Cody Currie & Kapote together in the studio! Delivering a 4 track EP that connect proto-disco, neo soul, Chicago house beats and jazz funk in a very spontaneous, super catchy way.
Cody, the London multi-talent musician and Kapote, the Berlin based creative head of Toy Tonics have a lot in common. Both come from studying jazz, knowing different instruments, having played in bands and at the same time being DJs with a huge passion and the skill to rock thousands of people every weekend at the Toy Tonics Jams with a wild mix of different music. They have what we call THE VIBE. Soulful, catchy, intense. When they play records at a party and when they work on tracks. Both play keyboards, bass, guitar and drums. Both sing. And both have funny nicknames that journalists gave them: Cody Currie was called "the Tom Misch of House music" and Kapote the "Wes Anderson of electronic music". Makes us laugh, but also fits well. And yes: Both are a bit crazy... like every extremely talented musician.
“Extremely highhgrade psych” (MOJO, 2024) “Immaculate sounding new psychedelia“ (Maggot Brain, 2024) “Alexander succeeds in capturing the post-psych grandeur that he’s aiming for while also creating one of his headiest offerings yet” (Raven Sings The Blues) “Psych lifer in a bloozy Americana mode. The whole thing hangs loose like a frayed rope tied to a river tube… essentially, a choogler’s dream.” (Viking’s Choice / NPR Music) “Plug in and space your face” (Aquarium Drunkard) Originally on Tape via Arrowhawk (please go check more releases on this wonderful label) - Now on Vinyl Presented in a high gloss laminated outer sleeve with artwork by Jake Blanchard - Both sets of art joining together to complete the picture. 36 minutes of sonic bliss for your ears and brain. Side 1 - Dark Star Side 2 - Dark Star (continued) "Jeffrey Alexander is a lifer. He has been flirting around the underground for the past thirty years - starting in Baltimore in the mid-90s and later percolating in Providence, Pittsburgh, San Francisco and, now, Philadelphia. Throughout this span, he has run various record labels, worked in a bunch of record shops, organized music festivals, managed live venues, FM deejayed, jammed econo, booked endless tours and performed in a gaggle of groups from Black Forest / Black Sea to Dire Wolves to Jackie-O Motherfucker to The Iditarod and points in-between. And now we have The Heavy Lidders. Jeffrey Alexander + The Heavy Lidders takes the freaked improvisation of Alexander’s instrumental band - DWLVS / Dire Wolves Just Exactly Perfect Sisters Band - into the world of song. Heady songwriting, ethereal jazz and Trad Gras-y blues stomps all feature. Backed by members of Elkhorn and Kohoutek. This vinyl (in 2 volumes) you hold in your hands is a collection of live Lidders that will surely wax your stem, and how! When Record Crates United invited JA+THL to perform at their inaugural garden party, not only did the Lidders show up with a one-off Live/Dead cover as a surprise gift for Keith and Sarah, but they rolled in with the Jesse Sheppard mobile multi-track truck, as well. Fucking pros, mate. Most of the material here was captured that sunny afternoon in suburban New Jersey - and thank the Godz that we have this plastic burner. I missed the set, but Kenneth Higney was there and gave it two thumbs up! I know them Lidders have a deluxe studio LP lined up for September, but til then, this little box will comfortably help you break on through. But don’t be fooled into thinking this is a mere EP. It’s SEVENTY SIX minutes of pure medicated goo. Now dose your capstan and pinch your roller. Shit is about to get Lidded." - Glen Burnout (on Sun Ra’s arrival day 2023)
Hot summer rain hits the cracked pavement in uneven rhythms. A neon sign flickers above a café that never seems to close, its warm white light reflected in the wet ground like a fever dream. The air smells of summer and the world hums with an easy tone, as if the city itself is holding its breath. A light flooded film noir-ish scene, that needs a soundtrack like "POOL JAMS", the new album of INIT, the Berlin based duo, that already caused quite a stir with their albums for Hivern Discs and Optimo Music. This time, they bring their latest creations out on R.i.O. - a label, with whom they are deeply associated. Their fourth longplayer is a playful one. One that brings trip hopping feelings. That has r'n'b grace, without catering regular trademarks of the genre. Dub, trance, drone, is all there too. Yet, nothing is present in pure definition. Rather suggested, interwoven, or newly twisted in a songwriting style, that haunts and seduces. On top the voice of Nadia D'Alò dances, steps and hums tempting to the grooves she created with her partner in crime Benedikt Frey. Together they fashioned a record, that, as INIT puts it, is "some kind of old photo from an old dry empty pool that got faded by sunlight ". A dreamy, sunny piece of song art, made for endless smoky LA freeway drives, and other adventures that seek for infinite riddance. You can dream it. You can trance it. You can't escape it, as soon as it rotates in your dream device for sound and vision.
James Mac has had a breakthrough year with recent single’s, ‘Try Again’ & 'The Boy Is Mine', topping the charts and receiving support from the likes of Keinemusik, Cloonee, and Armin van Buuren. His new single, 'Breathe', continues to highlight his gift for creating immersive House Music with powerful vocals. The package also features his collab with Lazarusman – ‘Manifest’ and on the flip we have the 2 previous single’s as an added bonus.
Act Fast!
My Boy Lollipop is the debut album by Jamaican singer Millie Small, capturing the infectious energy of the early ska movement. Driven by the global success of the title track, a genre-defining hit, the album delivers a lively mix of upbeat rhythms, playful melodies, and Millie’s unmistakable high-pitched vocals. With a blend of ska, pop, and R&B influences, it's a vibrant showcase of the sound that helped bring Jamaican music to international audiences. A must-have for fans of classic ska and timeless feel-good tunes.
Etta James’ second album leans more toward pop than the fiery soul she’s known for, with lush orchestration by Riley Hampton and a repertoire of ’40s standards. Yet, her powerhouse vocals shine, proving she could master any style. R&B still makes its mark, with the Berry Gordy-penned Seven Day Fool stealing the show, alongside Don’t Cry Baby and Fool That I Am, both charting crossover hits.
The Owl label kicks on with another party-starting nix of edits and remixes that blend funk, disco and soul into pure heat. 'Gimme Your Thang' is a low-slung opener with a filthy bassline and James Brown samples bringing it to life. 'Freaky To You' reworks a g-funk classic into a lavish and bumping slow-motion seducer and 'Rock Me Again' brings chunky, rolling funk with more classic vocal samples. 'Future Shock' shuts down with a lovely falsetto vocal and some psyched-out guitars.
Venice-based DJ and collector Zaffa is next up on the ever-superb Scruniversal label with a couple more delightful disco dancers. 'Trip Through The Galaxy' is a slow-motion cosmic trip that is vast in scale and high on soul thanks to the warm vocal that floats amidst funky riffs and glowing keys. Things stay just as sensuous and steamy on the flip with 'Supernova Child', another fluid and funky jam with oodles of synth magic and gentle grooves all soothing mind, body and soul. The real kicker is the vocal samples that add extra spaced-out funkiness.
In December 2024, The Lost Recordings released the first volume of this legendary concert, recorded on October 11, 1960, at the Olympia by Miles Davis and his quartet, joined by saxophonist Sonny Stitt. Alongside pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb, they formed an ensemble of exceptional musicality.
Now comes the second part of this remarkable concert.
In 1960, Miles returned to Paris for the fourth time in 12 years. Just months earlier, he had performed there with John Coltrane in a turbulent concert, marking the end of their collaboration. In October, at the Olympia, he rediscovered a stage he loved in a city he had fallen for back in 1949. "I loved being in Paris, I loved the way I was treated there," he would later say.
Since 1949, his music had evolved. From his immersion in Parkerian bebop to his collaboration with Gil Evans, he refined his style, developing a more spacious jazz inspired by Ahmad Jamal and enriched by his classical training. The soundtrack of Elevator to the Gallows in 1957 was a turning point, foreshadowing the pinnacle of Kind of Blue in 1959.
From the opening notes of Stardust, a previously unreleased piece, Miles sets the tone—seduction and lyricism. With a track attributed to Sonny Stitt, the swing settles in. The atmosphere intensifies with ‘Round Midnight, followed by Walking, where Stitt and Davis engage in a masterful exchange. If I Were a Bell and Fran Dance offer a more introspective moment before Two Bass Hit reignites the energy. The concert reaches its peak with So What and All of You, as Miles captivates the audience until the final notes of The Theme.
Our quest to recover the full concert began in 2022 when a friend sent us a photo of magnetic tapes in Brittany. A label reading "Miles Davis – Olympia 1960" caught our attention. After two years of research spanning France, the United States, and Stockholm, we are proud to present, for the first time, the complete version of this legendary concert.
DJ Support - Luke Una, Nikki Nair, Make A Dance, Boris Dlugosch, Gallegos
THIS YEARS BANGER IS HERE! After last years crossover smasher ‘Italo Disco Banger’, which picked up love from DJ Harvey, Gerd Janson and Fatboy Slim, Red Rack’em has been back in the lab, cooking up this years contribution to his ever growing, genre hopping series of ‘Bangers’. He’s hit discotheque paydirt once more with the euphoric tropical disco house burner vibes of ‘Secret Banger’. The feedback has been insane with early support from a wide range of tastemakers including Make A Dance, Nikki Nair, Luke Una, Boris Dlugosch and Gallegos, it’s a crossover, summer magic jam, perfect for those Adriatic or Balearic mornings. Secret Banger is an instant classic. Perfectly pitched for festival sunshine and late night heads down parties. It’s a ‘moment’ track, combining the biggest vocal hook this side of Daft Punk, ecstasy pads, tropical boogie strut and the trademark Rack’em club shaking sub bass. Secret Banger is a sureshot, guaranteed to give eyes closed moments to even the most frosty dancefloors. Monday is ostensibly ‘the deeper B Side cut’ but it’s also a certy club wrecker. Samples are being mad flipped people. A wacked out street soul snippet is sliced and diced before the track mutates into a huge pitched down late night jaw bothering incantation. The OG sample is hard cut into the track like a more clever than most DJ on the decks. You need this.
Across the Tracks is a collaborative project between underground hip-hop heavyweights Boldy James and producer Williams Conductor. Comprised of ten tracks, the album stays true to their gritty, street-centered narratives, blending slow-paced, hard-hitting bars with Conductor's eerie, sample-laden beats. Boldy's laid-back delivery pairs well with the soulful, moody instrumentals. Tracks like 'St. Juliana' and 'The Ol Switcharoo' stand out, with Boldy's sharp lyricism and Conductor's production shining brightest. The guest features from Boldy's son and sister add some texture to the project as well. The album serves as a good release for fans of Boldy James' storytelling and Williams Conductor's distinct production style. Across The Tracks in bone-colored vinyl is a well-curated offering for those that want more intellectual lyrics in their street rap.
New R&B discoveries continue to emerge and entertain the many followers of the New Breed musical cult; nobody finds more than the Kent connoisseurs.
Berna Dean’s two previously unheard recordings are by far her best. They were laid down at Cosimo Matassa’s New Orleans’ studios by GNP Crescendo but eschewed in favour of two relatively average sides. The great 50s R&B songwriter Jesse Stone provides a rocker for the much-admired Jimmy Breedlove and a super-catchy ‘This Morning’ for an unknown mixed vocal group that has a joyous gospel feel. Jesse also penned ‘Private Eye’, a classic early 60s story-song, for Buddy Wilkins which was issued on Al Sears’ Tri-Ess imprint.
The title track is used twice, on two very different Fraternity recordings. Kenny Smith’s version was issued in 1964 and has many followers, but the equally meritorious Coasters-inspired composition by the Citations is newly discovered. Win Menifee’s ‘I’m Runnin’ Around’ from the same Cincinnati label comes complete with a fascinating back-story.
There are three cover versions. Vermettya Royster’s ‘All Around The World’ is backed by James Brown’s 1961 band, while Roosevelt Lee's 1970 update of the 1947-originated ‘Hey Little Girl’ funks the tune up a la Godfather of Soul. The cover that will make the biggest noise is undoubtedly west coast band the Afterglows’ version of Barbara Lynn’s evergreen dancer ‘I’m A Good Woman’ – this is a future monster.
Golden Crest provides two fabulous male vocal group sides – the swinging ‘What’s On Your Mind’ by Eddie Daye’s Four Bars and the delightful harmonies of the appropriately-named, but unknown Delights ‘Mary Don’t You Weep’.
Blues still thrived into the 70s as Albert Washington’s mean and moody ‘Case Of The Blues’ proves. Smokey Wilson took the music into the late 70s with the storming ‘Goin’ Away Baby (Round Like An Apple)’, which benefits here from a 45-style edit. His Pioneer Club on 88th Street in South Central L A provides the atmospheric photo for this collection.
More early 60s movers come from Wilbur “Hi-Fi” White with ‘Don’t Look Now’, future hit songwriter Johnny Madara’s raucous ‘You Make Me Mad’ and Big Boy Groves ‘Bucket O’ Blood’ which brilliantly describes the kind of club these tracks would fit right into.
The LP version loses a few tracks, but so many collectors have strong preferences we’ve thrown the vinyl junkies a lifeline.
Wytch Hazel's stellar 2016 debut Prelude confirmed these Lancastrian apprentice wizards to be Britain's most promising new hard rock band. Two years on, that promise comes to abundant fruition on II: Sojourn, an album that moves Wytch Hazel on from the innocence and exuberance of the debut to a darker, more profound and complex place, carefully wrought into optimum shape by the band's singer, guitarist, songwriter and mastermind Colin Hendra. "I'm really into the idea of an album," notes Colin. "I don't do mix-tapes, I don't listen to singles, I'm interested in albums. I want to make a good, listenable, cohesive work, that is the whole thing." Asked what inspirations were brought to bear this time, Colin has good news, and even better taste: "I was listening to plenty of Judas Priest, Thin Lizzy and Wishbone Ash last year," remarks the frontman. "This seems to be more of a hard rock album, where the last one was more rock-folk. It's definitely more rock than folk!" The most crucial influence fully expresses itself via Les Paul guitars in sweet twin harmony through cranked Super Lead Marshalls - "Exactly the same type of amp that Thin Lizzy would have used," beams Colin - a benefit of working in James Atkinson's Hand Of Law Studio, a converted gaolhouse in Leeds. "We knew there would be a lot more great gear, more amps, more options," enthuses Colin of this productive new work environment. "We were more prepared, we planned better. I had a lot more vocals to record on this album, pretty much every song has at least three harmonies, but James is a really chilled out guy, he made it easy for us. I had a very clear idea of how I wanted each song to sound, I thought about every single aspect. I probably over-prepared for this album, and it paid off!" Wytch Hazel's proud, avowed Protestant Christianity continues to set them apart from the occult hocus-pocus of their peers, and the very title Sojourn has a Biblical inspiration: "It's used a lot in the Old Testament, people would travel somewhere to stay for a short period of time," explains Colin, comparing the idea to Wytch Hazel's development since Prelude. "We're going to reside here with this sound for a while, and the next album might not sound the same. Come and have a listen to this aspect of Wytch Hazel - it's a temporary stay. We'll be here for a while, then there will be something else. I'm always writing, it's a constant stream, but I'm always trying to raise the bar, because I don't want the next album to be not as good as the other ones!"
Diese legendäre LiveɞAufnahme vom Montreux Jazz Festival ȒȚȘȗ gilt als Meilenstein in Monty Alexanders Karriere und als Klassiker des PianoɞTrios der Șȑer Jahreɍ Hier trifft karibisches Lebensgefühl auf jazzige Raffinesse – mit einem Hauch Gospelɍ Begleitet vom brillanten Rhythmusgespann John Clayton (Bass) und Jeff Hamilton (Schlagzeug)Ɏ entfaltet der jamaikanische Pianist eine mitreißende musikalische Erzählungɍ Kein WunderɎ dass er damals bereits mit Größen wie Oscar Peterson verglichen wurdeɍ
